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FA ’18: MUED 376

A.S.C.A.M. Rehearsal Guide Template
Suggested BEST ORDER: I. IV. II. V. III. & then Final Questions

A.S.C.A.M =
Audiation Decisions
Singing Decisions
Conducting Decisions
Analysis Decisions
Marked Score Decisions

I. Auditation Decisions​:
Discography: Summary of important recordings and
performances, with notable comparisons:
Title of Piece Version Version Version Version
1: 2: 3: 4:
Lo, How A conductor conductor conductor
Rose E’er Mormon and and and
Blooming Tabernac ensemble ensemble ensemble
le Choir
Tempo Quarter
=71
bpm
Key F Major
Style Hymn Hymn Hymn Hymn
Type of soloist N/A N/A N/A N/A
Type of Voice Voice Voice Voice
instruments
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Solo N/A N/A N/A N/A

ornamentation
Choral Style SATB SATB SATB SATB

My Favorite Sound is: Pure

I will achieve it with ​tall​ vowels

I will achieve it with ​backward​ placements

I will achieve it with ​hymnal​ style

II. Singing Decisions

Sound: Breathing - only where there are commas or end of a phrase

Placement - backward
Vowels and modifications - tall vowels, british sounding
Consonants - not overly crisp
Type of blend - equal
Preferred balance - equal, Sopranos slightly more
Vibrato - not too much, spin on held chords

Interpretative IPA
loʊ​, ​haʊ​ ​ə​ ​roʊz​ ​e'er​ ​ˈblumɪŋ
frʌm​ ​ˈtɛndər​ ​stɛm​ ​hæθ​ ​sprʌŋ​!
ʌv​ ​ˈʤɛsiz​ ​ˈlɪniəʤ​ ​ˈkʌmɪŋ
æz​ ​mɛn​ ​ʌv​ ​oʊld​ ​hæv​ ​sʌŋ​.
ɪt​ k​ eɪm​, ​ə​ ​ˈflaʊər​ ​braɪt​,
əˈmɪd​ ​ðə​ ​koʊld​ ​ʌv​ ​ˈwɪntər
wɛn​ ​hæf​-​gɔn​ ​wʌz​ ​ðə​ ​naɪt​.
ˌaɪˈzeɪə​ ​twɑz​ ​fɔrˈtoʊld​ ​ɪt​,
ðə​ ​roʊz​ ​aɪ​ ​hæv​ ​ɪn​ ​maɪnd​:
wɪð​ ​ˈmɛri​ ​wi​ ​bɪˈhoʊld​ ​ɪt​,
ðə​ ​ˈvɜrʤɪn​ ​ˈmʌðər​ ​kaɪnd​.
tu​ ʃ​ oʊ​ ​gɑdz​ ​lʌv​ ​aright
ʃi​ ​bɔr​ ​tu​ ​mɛn​ ​ə​ ​ˈseɪvjər
wɛn​ ​hæf​-​gɔn​ ​wʌz​ ​ðə​ ​naɪt

Decisions: Translations - N/A

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Word Stress - rose, tender, sing towards the most important word in the
phrase

Phrasing and Breathing - shape the phrase just as one would speak it,
speak only at end of phrase or where there is a comma

Emotional: Buzz words - holy, pure, Jesus

Coloration: Placement - backward, british-sounded vowels, older-sounding, slightly

dark

Kodaly Considerations:

Tone set:
Tone set defined: (pentatonic, modal, diatonic, chromatic) - diatonic

Rhythmic set:
Rhythmic set defined: quarter notes
Counting system: takadimi

Developmental strategy:

Prepare: Listen to different recordings, sing each part on solfege

Present: Sing each part for the choir, teach them the parts
Practice: Work on conducting and audiation
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III. Conducting Decisions: ​big/small, in/out, up/down

What does my Level 1 look like in this piece?

(My kinesthetic set-up, ​my Laban dimensions [time, weight & space], effort actions &
feelings, marked in the score)

A. My improvement goal for Level 1 Kinesthetic is:   

It is my hope that before conducting I set up a tall and proper 
alignment. I also hope to have certain gestures marked in my score and 
use that as my guide whenever I am questioning myself during the 
performance. My gestures should also be light and effortless, floating 
in time.  

What does my Level 2 look like in this piece?

(My somatic facial affect, my emotional connection to the piece and my facial affect, my
mouth shape and my vowel shaping, m ​ y Laban dimensions [time, weight
& space], effort actions & feelings, marked in the score)

B. My improvement goal for Level 2 Somatic is:   

I want to have a very happy and peaceful facial affect, showing my 
connection to the piece and embodying the purity of the piece. My 
score will be marked with buzz words for each section and will 
therefore serve as a reminder whenever I look at it.  

What does my Level 3 look like in this piece?

(What are my beat patterns, my cues, my levels, my word stress, my releases, my size of
gesture, my entrances, my melded gestures, my eye tracking, etc., and how
do I execute them, ​my Laban dimensions [time, weight & space], effort
actions & feelings, marked in the score)
and what do my Rainbow Lady drawings look like?)

 
C. My improvement goal for Level 3 Technical is:   
My beat patterns will fluctuate between 4/4 and 2/2, using a melded 
gesture for 2/2. The gestures will overall be a medium-size, as the 
only dynamic contrast needed is on the final chord. The cues I give will 
be very inviting, making a scooping motion with my left hand. My 
releases will be clear and concise enough for the choir to follow me, 
without evoking a response of explosive consonants.  
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What does my Level 4 look like in this piece?

(When do I move out of the “patterns” and how, and WHY, m ​ y Laban dimensions [time,
weight & space], effort actions & feelings, marked in the score)​ and what
do my Rainbow Lady drawings look like?)

D. My improvement goal for Level 4 Informed is:   

This piece features many ‘odd’ measures that don’t have 4 beats to a 
measure. For these measures, I will be moving out of a regular 4/4 or 
2/2 pattern and just moving my hands in a circular motion to show 
movement or signal breath before a new phrase begins; it sometimes 
isn’t necessary to beat through everything.  
 
 
IV. Analysis Decisions

Everything you study in order construct and develop an aural image of the piece
and to build a fluid, transparent, informed interpretation of the piece.

Historical Aspects: Composer – history and considerations

-Marian hymn of German origin, setting by Michael
Praetorius (1571-1621)
-composer, organist, music theorist

History of the Piece, date

-1609
-text of German hymn dates from the 15th century by
an anonymous author
-used by both Catholics and Protestants

Performance Practice elements

V. Marked Score Decisions

Score Preparation: Prepared Edition – ​Do I make a prepared edition

for the choir?

N/A
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Study Score – ​What is included in my study score?

-Highlighted measures to indicate where I will change

gestures, releases, breaths

Conductors Score – ​What is included in my concert

score?

-Buzz words